- 01FantasyFantasy UFO…just used to license anything he liked, whether it was from the US or the UK,’ says Per Martinsen, a Norwegian producer who not only recorded for R&S as Mental Overdrive but also spent much of 1989 and 1990 acting as their in-house studio engineer. ‘There were a few Bleep style tracks that he licensed, such as Fantasy UFO “Fantasy”, Autonation “Sit On The Bass” and Turntable Overload “T.T.O”.from the chapteralso in the bleepography
- 02Sit On The BassAutonation…just used to license anything he liked, whether it was from the US or the UK,’ says Per Martinsen, a Norwegian producer who not only recorded for R&S as Mental Overdrive but also spent much of 1989 and 1990 acting as their in-house studio engineer. ‘There were a few Bleep style tracks that he licensed, such as Fantasy UFO “Fantasy”, Autonation “Sit On The Bass” and Turntable Overload “T.T.O”.from the chapteralso in the bleepography
- 03T.T.OTurntable Overload…just used to license anything he liked, whether it was from the US or the UK,’ says Per Martinsen, a Norwegian producer who not only recorded for R&S as Mental Overdrive but also spent much of 1989 and 1990 acting as their in-house studio engineer. ‘There were a few Bleep style tracks that he licensed, such as Fantasy UFO “Fantasy”, Autonation “Sit On The Bass” and Turntable Overload “T.T.O”.from the chapteralso in the bleepography
- 04The Seven StarsQuazar…of examples of (mostly lesser-known) Bleep-influenced records that emerged from Europe between 1990 and ’93, from the warm and weighty Dutch Deep House/Bleep & Bass fusion of Quazar’s “The Seven Stars”, and the dubbed-out deep space Breakbeat Techno of Norwegian1 artist Biosphere’s “Baby Interphase”, to the early Italian Techno grooves of The True Underground Sound of Rome (“Secret…from the chapter
- 05Baby InterphaseBiosphere…between 1990 and ’93, from the warm and weighty Dutch Deep House/Bleep & Bass fusion of Quazar’s “The Seven Stars”, and the dubbed-out deep space Breakbeat Techno of Norwegian1 artist Biosphere’s “Baby Interphase”, to the early Italian Techno grooves of The True Underground Sound of Rome (“Secret Doctrine” on Male Productions) and MBG (whose “Speed 127” EP came in Warp-aping purple sleeve).from the chapteralso in the bleepography
- 06Secret DoctrineThe True Underground Sound of Rome…between 1990 and ’93, from the warm and weighty Dutch Deep House/Bleep & Bass fusion of Quazar’s “The Seven Stars”, and the dubbed-out deep space Breakbeat Techno of Norwegian1 artist Biosphere’s “Baby Interphase”, to the early Italian Techno grooves of The True Underground Sound of Rome (“Secret Doctrine” on Male Productions) and MBG (whose “Speed 127” EP came in Warp-aping purple sleeve).from the chapteralso in the bleepography
- 07Speed 127MBG…between 1990 and ’93, from the warm and weighty Dutch Deep House/Bleep & Bass fusion of Quazar’s “The Seven Stars”, and the dubbed-out deep space Breakbeat Techno of Norwegian1 artist Biosphere’s “Baby Interphase”, to the early Italian Techno grooves of The True Underground Sound of Rome (“Secret Doctrine” on Male Productions) and MBG (whose “Speed 127” EP came in Warp-aping purple sleeve).from the chapteralso in the bleepography
- 08BonesbreaksFrankie BonesIn 1988, Frankie Mitchell joined forces with fellow freestyle DJ and House enthusiast Lenny Dideserio to produce the first in a series of “Bonesbreaks” albums: collections of dancefloor-focused tracks mostly forged from sampled beats, basslines, riffs and drum breaks.from the chapter
- 09Looney TunesFrankie Bones & Lenny DeeEven more influential was the first volume in Mitchell and Musto’s “Looney Tunes” series.from the chapter
- 10Looney Tunes Volume 1Frankie Bones & Lenny DeeWhen reissued on XL Recordings, “Looney Tunes Volume 1” sold in high numbers, with the Brooklyn-based duo’s cheeky blends becoming staples in the sets of DJs on the orbital rave circuit.from the chapteralso in the bleepography
- 11The ThemeUnique 3Amongst the tracks on the tapes was Unique 3’s “The Theme”, and various early Robert Gordon productions and remixes on Warp.from the chapteralso in the bleepography
- 12My SoundFreedom AuthorityTwo of these, “My Sound” and “Unauthorized Conceptions”, ended up being released on the UK’s XL Recordings.from the chapter
- 13Unauthorized ConceptionsFreedom AuthorityTwo of these, “My Sound” and “Unauthorized Conceptions”, ended up being released on the UK’s XL Recordings.from the chapteralso in the bleepography
- 14Space FaceSub SubA little later in 1991, Todd Terry, then one of US House music’s biggest names, went so far as to produce a Bleep-inspired “Techno Todd” remix of Sub Sub’s dancefloor anthem “Space Face”.from the chapteralso in the bleepography
- 15Joey’s Riot6 Mental MayhemThe vast majority of the tracks released on Musto and Silvio Tancredi’s Atmosphere Records imprint in 1990 featured some element of Bleep & Bass influence.6 Mental Mayhem’s “Joey’s Riot”, a pre-“Energy Flash” Joey Beltram production that boasts similar drums to his famous anthem with the addition of some typically Yorkshire bleeps is arguably the best example, though there are plenty of others…from the chapter
- 16Energy FlashJoey Beltram…vast majority of the tracks released on Musto and Silvio Tancredi’s Atmosphere Records imprint in 1990 featured some element of Bleep & Bass influence.6 Mental Mayhem’s “Joey’s Riot”, a pre-“Energy Flash” Joey Beltram production that boasts similar drums to his famous anthem with the addition of some typically Yorkshire bleeps is arguably the best example, though there are plenty of others…from the chapter
- 17Make You Feel It (Feel The Wrath)P.L.U.MChief among these is P.L.U.M’s “Make You Feel It (Feel The Wrath)”, a joint venture between Adam Mitchell - who by now was DJing as Adam X - and fellow Groove Records regulars Jimmy Crash and Ray Love, under the watchful eye of big brother Frankie.from the chapter
- 18Track With No NameForgemastersDespite the growing weight of Bleep-inspired material emerging from New York - including more Frankie Bones tracks that sampled “The Theme” and “Track With No Name”, amongst other UK Bleep and Hardcore tracks - the DJs and producers behind the records remained virtual unknowns on the city’s club scene.from the chapteralso in the bleepography
- 19Computer WorldKraftwerkBoth were fascinated by the inherent futurism of Detroit Techno and its emphasis on technology. ‘Techno is special because one of the key components is technology,’ Acquaviva says enthusiastically. ‘When I bought Kraftwerk albums like “Computer World”, I saw myself in the future living in a world with my home computer.from the chapteralso in the bleepography
- 20Voodoo RayA Guy Called GeraldWhen I met Rich, he told me that A Guy Called Gerald’s “Voodoo Ray” came from the SH-101 and that I could get a similar sound.from the chapteralso in the bleepography
- 21Elements of ToneStates of MindThe first record the pair made together was “Elements of Tone”, an expansive EP that contained audible nods to their major musical obsessions: twisted, TB-303 powered Acid House, the sci-fi Techno of Detroit and the alien minimalism of Bleep & Bass.from the chapteralso in the bleepography
- 22TestoneSweet ExorcistThe title track was offered up in a quartet of bleep-heavy mixes, with the “Raw Tone Mix” - a stripped-back affair full of “Testone” style melodies, head-cracking drums and heavy low-end - sounding like a Canadian equivalent of Unique 3’s earliest experiments. ‘We collected all the pieces of equipment we thought the Bleep guys used,’ Acquaviva says. ‘We could literally play the Sweet Exorcist…from the chapteralso in the bleepography
- 23TechnarchyCybersonikLead cut “Technarchy” was riotous: a stomping chunk of raw, intense, rave-ready Techno smothered in fuzzy Belgian style synth stabs and mind-altering industrial electronics.from the chapteralso in the bleepography
- 24AlgorhythmCybersonikYet the tracks that accompanied it, “Algorhythm” and “Melody 928.V2”, owed much to the trio’s love of Bleep & Bass, with the latter sampling a snatch of a spoken word track tucked away on the flipside of Roger Sanchez’s debut as Ego Trip, “Dreamworld”.from the chapter
- 25Melody 928.V2CybersonikYet the tracks that accompanied it, “Algorhythm” and “Melody 928.V2”, owed much to the trio’s love of Bleep & Bass, with the latter sampling a snatch of a spoken word track tucked away on the flipside of Roger Sanchez’s debut as Ego Trip, “Dreamworld”.from the chapter
- 26DreamworldEgo TripYet the tracks that accompanied it, “Algorhythm” and “Melody 928.V2”, owed much to the trio’s love of Bleep & Bass, with the latter sampling a snatch of a spoken word track tucked away on the flipside of Roger Sanchez’s debut as Ego Trip, “Dreamworld”.from the chapter
- 27Train TracsF.U.S.EThe friendships they developed not only resulted in a handful of eventual collaborations with both Gordon and LFO but also the release of a F.U.S.E single on Warp, “Train Tracs”, in 1993.from the chapter
- 28Sonic EPUnderground ResistanceThe “Sonic EP”, which arrived in the latter half of 1990, contained two Motor City translations of Bleep & Bass: the sub-heavy weight of “Orbit”, and the off-kilter Techno-Funk of “Predator”.from the chapteralso in the bleepography
- 29OrbitUnderground ResistanceThe “Sonic EP”, which arrived in the latter half of 1990, contained two Motor City translations of Bleep & Bass: the sub-heavy weight of “Orbit”, and the off-kilter Techno-Funk of “Predator”.from the chapter
- 30PredatorUnderground ResistanceThe “Sonic EP”, which arrived in the latter half of 1990, contained two Motor City translations of Bleep & Bass: the sub-heavy weight of “Orbit”, and the off-kilter Techno-Funk of “Predator”.from the chapter
- 31FreedomDV8“Thoughts of the Future”, from the 1990 “Freedom” 12”, is one of the most authentic American takes on Warp style Bleep & Bass, while “The Future” from 1991’s “The Ego Trip EP” does a great job in doffing a cap to the Bleep-influenced Dub/Deep House fusions of NYC contemporary Bobby Konders.from the chapter
- 32The Ego Trip EPDV8“Thoughts of the Future”, from the 1990 “Freedom” 12”, is one of the most authentic American takes on Warp style Bleep & Bass, while “The Future” from 1991’s “The Ego Trip EP” does a great job in doffing a cap to the Bleep-influenced Dub/Deep House fusions of NYC contemporary Bobby Konders.from the chapter
- 33Unleash The GrooveChapter 1Their 1990 debut on Strictly Rhythm, “Unleash The Groove”, came with a “Love In Sheffield Mix” that cannily paid tribute to the early Warp Records sound, albeit in a manner closer to Roger Sanchez’s Egotrip records rather than Forgemasters, Sweet Exorcist or LFO.from the chapteralso in the bleepography
- 34Lion DanceThe Moody BoysOne of the duo’s other labels, Fourth Floor, also licensed and reissued The Moody Boys’ Bleep-influenced Dub House workout “Lion Dance” in 1991.from the chapter
- 35Journeys Into DublandMoody BoysThe original was one of the highlights of the XL Recordings released “Journeys Into Dubland” EP.from the chapteralso in the bleepography